Our Byzantine Heritage

The following is a translation of an article Ons Bizantynse Erfenis that appeared in Die Hervormer, May 1961, by an anonymous architect.

Historical Introduction

As early as 1920, the concept of the Byzantine central-plan building appeared in our country. I mention only the "concept," because the external cladding remained behind in its land of origin. Here in South Africa, the external appearance underwent a transformation, initially consisting of a mixture of Neo-Cape and a type of Baroque style, with a Gothic motif here and there or a facade strongly resembling a Romanesque choir screen.

Example of a Neo-Byzantine oval church.

One important characteristic became the massive tower built right against a central dome, resulting in a visual conflict between the tower and the dome.

The Byzantine Style

The true Byzantine concept is one of central planning. The floor plan is usually round, octagonal, square, or in the shape of a Greek cross. A dominant central dome forms the most important feature of the roof construction and is surrounded by subordinate domes or slanting roofs at lower levels. Since such a composite dome-roof construction forms a complete architectural composition, Byzantine master builders did not add towers.

On a few Byzantine buildings today, we see one or more needles (minarets), but these were added later after the Islamites took possession of the churches in Constantinople and converted them into mosques. These needles, however, are slender and removed far enough from the main dome to eliminate the unsightly conflict between dome and tower (so well known in our country).

The Greek Cross Adapted

The liturgical actions of the Byzantine clergy took the form of ceremonial processions moving around the geometric center of the building. No provision was made in these services for the laity.

The floor plan of St. Mark’s, Venice, which takes the form of a Greek cross. This form is ideally suited for Byzantine circular processions.

The floor plan of an African church based on the Greek cross (1925). One can safely say that a great deal of "violence" had to be used to arrange this plan for a Protestant service. Lack of focus and complete confusion is the result when the liturgical center is shifted from the geometric center to the side, and the rest of the space is packed with pews oriented in different directions.

The Octagon Adapted

The floor plan of St. Vitale, Ravenna. Here again, we see how architecture and liturgy work perfectly together; the central dome lends grandeur to the liturgical acts taking place at the geometric center.

How this Byzantine concept is adapted in our country. Placing the pulpit opposite the pews creates an artificial longitudinal axis that does not harmonize with the building's order.

Finally, we arrive at a polygon stretched sideways like an oval, which we can call "oval building".

From the inside, several disturbing factors can be found: A series of wall surfaces, each forming a different angle relative to the pulpit wall. A prominent transverse axis is created that conflicts with the liturgical alignment between pulpit and pews. The unity between the preacher and the congregation is broken because the pews are spread in such a wide segment that the preacher must turn nearly 180 degrees.

Theologically Unacceptable

Although an excellent building style, the original Byzantine central-plan building was designed for the specific requirements of a clergy-centered service. It is hardly conceivable that such a design would be suitable for a Reformation service, where the ordinary member has definite participation.

Yet, we have the ironic situation where the Afrikaner has declared this processed Byzantine style as their "official" church architectural style. Fortunately, there are signs that this foreign concept of space is quickly making way for structures that are a purer expression of our own theological thinking.

— "Boumeester" (Architect)

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Sources

1. n.a. (1953) Ons Bisantynse Erfenis. Die Hervormer, May 1961.